Hi Joel;
Yes, I'm sure he did. I've put all my energies into learning Cibachrome
printing, but I'm going to learn B&W sometime (soon I hope.) So, when I
make a 4x5 E-6 exposure, many times if the scene also feels right, I'll
make a (usually TMAX) negative as well. So I've got lots of 4x5 negs to
work with (plus a lot of rolls of Kodak IR from the OMs)
But my B&W printing just ain't makin' it yet. One thing I have learned
is that B&W printing is much more of an art form than Cibachrome. Many
more variables and degrees of freedom, including tools to alter the
print after it's been developed. Toning of course, but Farmers Reducer
(aka bleach) is extrememly versatile. I'm in a small group of 1/2 doz
photographers who meet every month or two to share and critique each
others' work. It's a powerful learning and social situation. All the
others are proficient in B&W to differering extents. And every one of
their successful prints is bleached to some extent.
Just last Sat at our meeting one member, Barry Sherman, brought a print
in which geyser steam was a major component. I was quite surprised to
hear he had to bleach the steam quite a bit to bring out the fine
highlight detail he had achieved in the print. In short, B&W fine art
printing is a challenge that Ansel mastered and I aspire to.
George
Joel Wilcox wrote:
>
> At 08:48 AM 12/11/1998 -0800, George you wrote:
> >
> >BTW, I meant to fill in the blank in Charles' original msg, it was
> >Moonrise over ....
> >Hernandez. New Mexico. In fact, the story of how he made that negative
> >is interesting in light of this discussion. Briefly, it was almost
> >sunset when he found the scene, so he had little time. He 'quickly' set
> >up his 8x10 and loaded a sheet film holder. Then couldn't find his
> >light meter. Since the light was almost gone, he exposed relying on his
> >memory of the proper exposure for a full moon (which happens to be
> >basically sunny f/16, altho he put it in terms of lumens). Then he
> >turned the sheet film holder around to expose the 2nd sheet, but the
> >light was gone. I don't know if he was going to bracket that 2nd sheet.
> ><g> His results show what is possible in by making only one exposure if
> >you know what you're doing.
> >
> >George
> >
> Hi George,
>
> I recollect reading, however, that he later used Farmer's reducer on this
> negative to bring down the density of the foreground. He sure nailed the
> moon though.
>
> It is a great story. Nothing against it, it's not my favorite of his
> shots. Still, it makes me wish I had one of those old woodies with a tripod
> platform. I think of that everytime I climb into the back of my pickup and
> set the tripod on the cab.
>
> Joel
>
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